Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.